Heritopia explores the multiple meanings of the past in the present, using the
famous temples of Abu Simbel and other World Heritage sites as points of
departure. It employs three perspectives in its attempt to understand and
explain both past and present the truth of knowledge, the beauties of narrative,
and ethical demands. Crisis theories are rejected as nostalgic expressions of
contemporary social criticism. Modernity is viewed as a collection of
contradictory narratives and reinterpreted as a combination of technological
progress and recently evolved ideas. The book argues that while heritage is
expanding, it is not to be found everywhere, and its expansion does not
constitute a problem. It investigates the World Heritage Convention as an
innovation, demonstrating that the definition of a World Heritage site succeeds
in creating a tenable category of outstanding and exclusive heritage. The book
introduces the term “Heritopia” in order to conceptualise the utopian
expectations associated with World Heritage. Finally, it points to the
possibilities of using the past creatively when meeting present-day and future
Bordering intimacy is a study of how borders and dominant forms of intimacy, such as family, are central to the governance of postcolonial states such as Britain. The book explores the connected history between contemporary border regimes and the policing of family with the role of borders under European and British empires. Building upon postcolonial, decolonial and black feminist theory, the investigation centres on how colonial bordering is remade in contemporary Britain through appeals to protect, sustain and make family life. Not only was family central to the making of colonial racism but claims to family continue to remake, shore up but also hide the organisation of racialised violence in liberal states. Drawing on historical investigations, the book investigates the continuity of colonial rule in numerous areas of contemporary government – family visa regimes, the policing of sham marriages, counterterror strategies, deprivation of citizenship, policing tactics, integration policy. In doing this, the book re-theorises how we think of the connection between liberal government, race, family, borders and empire. In using Britain as a case, this opens up further insights into the international/global circulations of liberal empire and its relationship to violence.
Fluidity and reciprocity in the performance of caring in Fevered Sleep’s Men & Girls Dance
Amanda Stuart Fisher
on to encounters between men and girls and replaces the adult risk anxiety associated with this with care-filled interactions that generate moments of togetherness, marked out by a mode of tender and reciprocal caring. In so doing, performed care emerges in this production as a mode of resistance, opening up new understandings about structures of caregiving and care receiving in performance and rethinking the ethicaldemands of working within contexts of vulnerability and risk.
One of the key ways that Men & Girls Dance reconsiders the dynamics of the encounter
entertaining, or whether it is morally good or evil. All that matters is what something was actually like. But when the truth of the Enlightenment is called into doubt as a legitimate motive, the beauty of the narrative and the ethicaldemands come into play instead. It is not apparent that an increased will to knowledge is a major reason for greater present-day interest in the past.
The beauties of narrative
Narratives about the past are desirable, useful, and essential. We need narratives about the past in order to understand and explain the present, meet the future
perhaps quite a radical promise, to become ‘unseeable’. If borders are
intimate, sticky and visible, refusing to be seen appears to offer a powerful
way to contest the domesticating power of the contemporary state.
Eduardo Glissant’s (1997: 189) appeal to a ‘right to opacity’ is useful
to consider here. If dominant modes of visuality are bound to colonial
power, and rest on hierarchies of the human, then Glissant makes a
political and ethicaldemand to be ‘unseeable’ and thus ‘unknowable’
to the modern state and its adjunct authorities – that is, to
Pollution, contamination and the neglected dead in post-war Saigon
, photographed head-on, fills the oval medallion or
rectangular frame: a biography condensed in the portrait and the
image of a face. This type of portraiture and the effect of repetition
from grave to grave helps identify (with) the dead by recognising
them as ancestors – an endless indebtedness by means of which living descendants can recognise themselves as such and locate themselves in kinship and social terms in relation to the deceased. This
recognition is an ethicaldemand (Hegel 1977: 270; Levinas 2000:
82, 105; Mbembe 2003: 14). Here the demand of the other, displayed
exclusion of values from the technical sphere sees them resurface outside it, so that ‘[t]he very same process in which capitalists and technocrats were freed to make technical decisions without regard for the needs of workers and communities generated a wealth of new “values,” ethicaldemands forced to seek voice discursively’ ( 2002 : 22). Technical politics, then, involves the importation of these discursively formulated values into the technical sphere as currently constituted. It is in light of this that Feenberg argues that one of the goals of the critical theory
See, e.g., Walter D. Mignolo, Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Designs (Princeton: Princeton University Press, 2000); and David Slater, Geopolitics and the Post-Colonial: Rethinking North–South Relations (Oxford: Blackwell, 2004).
43 Shino Konishi, ‘First Nations Scholars, Settler Colonial Studies, and Indigenous History’, Australian Historical Studies , 50 (2019), 1–20; Alissa Macoun and Elizabeth Strakosch, ‘The EthicalDemands of Settler Colonial Theory’, Settler Colonial Studies, 3:4 (2013), 426, 436. For
that the encounter with
Hermione’s incomprehensible image places an ethicaldemand for a
‘response’ on spectators. 21 In this view, the open-endedness of
the final scene demands action on the part of spectators rather than
encouraging the relaxed celebration of the ‘inescapable mediacy
of language’. 22
Knapp argues that Leontes’s awakening of faith in the image of
loss involved and nothing to compensate for.
Hence, nostalgia does not suffice to understand and explain the multifaceted relationship of the present to the past. Nostalgia becomes attached to the beautiful perspective with its therapeutic narratives. But historical consciousness, museums, monuments, architecture, and novels are about things other and more than beauty, and the same applies to tourism. Enlightenment knowledge and the ethicaldemand constitute motives, too, particularly in the emergence of museums and canonisation of monuments.
When Fritzsche wrote